PHILOSOPHY 3322

PHILOSOPHY AND THE ARTS:

AN INTRODUCTION TO AESTHETICS

Professor E. H. Duncan

Books to Buy:

A Modern Book of Esthetics (5th edition) Rader

Philosophy of Art: Readings, Duncan

Introduction to Aesthetics, An Analytic Approach, Dickie

In this course you will read and have a chance to discuss some of the best works ever written on the problems encountered in the philosophy of art. These writings have been selected from various sources. No single anthology--including the ones chosen for this course--is fully adequate.

Your grade will be determined by your class participation, grades on three hour exams and the final exam and your grade on a 10-15 page (type-written, double-spaced) paper, written on a subject of your own choosing. For a list of topics, see the subject index of the Twenty Year Cumulative Index to the Journal of Aesthetics and Art Criticism (1941-1962). There is also an updated version; the Journal of Aesthetics and Art Criticism has published, in 1979, a Cumulative Index, Volumes I-XXXV, 1941-1977, with a supplement added to 1982. Other references may be found under "Aesthetics" in The Philosopher's Index, and in the "Selective Current Bibliography for Aesthetics and Related Fields," published annually in the Summer issue of JAAC (to 1972). Finally, see the column, "Aesthetics for Contemporary Artists," published in the Spring and Fall issues of Leonardo, to 1983.

Some Abbreviations:

APQ ------------------ American Philosophical Quarterly

BJA ------------------ British Journal of Aesthetics

JAAC ------------------ Journal of Aesthetics and Art Criticism

JAE ------------------ Journal of Aesthetic Education

JP ------------------ Journal of Philosophy

PAS ------------------ Proceedings of the Aristotelian Society

PPR ------------------ Philosophy and Phenomenological Research

PR ------------------ Philosophical Review

ZAAK ------------------ Zeitschrift für Aesthetik und allgemeine Kunstwissenschaft

A few other books you willwant to dash out and buy:

Beardsley, Monroe C. Aesthetics: Problems in the Philosophy of Criticism,1958, 1981.

Beardsley, Monroe C. Aesthetics from Classical Greece to the Present: aShort History.

Osborne, Harold. Aesthetics and Art Theory: a Historical Introduction.

Dickie, George and Sclafani, R.J. and Roblin, Ronald (eds). Aesthetics: a Critical Anthology, 2nd Edition.

Margolis, Joseph (ed). Philosophy Looks at the Arts (1st and 3rd editions).

Dickie, George. The Art Circle.

Dickie, George. Art and the Aesthetic: an Institutional Analysis.

Vivas, Eliseo and Krieger, Murray (eds). The problems of Aesthetics: aBook of Readings.

Elton, William (ed). Aesthetics and Language.

Shields, Allan. A Bibliography of Bibliographies in Aesthetics.

Townsend, Dabney. Aesthetics: Classic Readings from the Western Tradition.

LECTURE 1: "The History of Aesthetics and the Division of Labor"

Read: The Introductions to the Rader and Duncan volumes, and my "The Lack of Historical Perspective in Aesthetics: the Topic Revisited" (Duncan, Section 2).

See Also: Louis Arnaud Reid, "Artists, Critics, and Philosophers," in Vivas andKrieger, pp. 19-30.

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Monroe C. Beardsley, "Aesthetics, History of," in The Encyclopediaof Philosophy, Vol. 1, pp. 18-35.

Stephen C. Pepper and Thomas Munro, article on "Aesthetics,"Encyclopedia Britannica, 15th ed., Macropaedia, Vol. 1,pp. 149-163.

Dickie, George, Introduction to Aesthetics, "An HistoricalIntroduction to Analytic Aesthetics," pp. 1-73.

Campbell Crockett, "The Lack of Historical Pespective in Aesthetics,"JAAC, 10, 2 (Dec. 1951): 160-165.

Thomas Munro, "Editor's Comment: A College Program in Aesthetics and the Arts," JAAC, 4, 2 (Dec. 1945): 115-118.

Allan H. Gilbert, "On 'A College Program in Aesthetics and the Arts',"JAAC, 4, 4 (June 1946): 224-247.

Charles Edward Gauss, "On the content of a Course in IntroductoryAesthetics," JAAC, 8, 1 (Sept. 1949): 53-58.

John Henry Melzer, "On the Teaching of Aesthetics," The Personalist,37, 2 (April 1956): 136-146.

Ruth Saw, "'Apology' for Aesthetics," BJA, 9, 4 (Oct. 1969): 321-329.

Allan Shields, "Aesthetic Studies: a College Curriculum," JAE, 4, 2(April 1970): 133-143.

Jean G. Harrell, "Aesthetics as Philosophy," The Personalist,53, 2 (Spring 1972): 115-126.

Richard J. Sclafani, Review of Aesthetics: An Introduction by GeorgeDickie, JP, 70, 10 (May 24, 1973): 303-307.

W. B. Gallie, "The Function of Philosophical Aesthetics" in Elton,Aesthetics and Language, pp. 13-35.

Jerome Stolnitz, "Notes on Analytic Philosophy and Aesthetics," BJA,3,3 (July 1963): 210-222.

Bertram Jessup, "Analytic Philosophy and Aesthetics," BJA, 3, 3 (July 1963): 223-233.

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J. A. Passmore, "The Dreariness of Aesthetics" in Elton, Aestheticsand Language, pp. 36-55.

Allan Shields, "Talk About Talk About Art," JAAC, 26, 2 (Winter1967): 187-192.

LECTURE 2: "The Play Theory and Empathy"

Read: Theodor Lipps, "Empathy, Inner Imitation and Sense-Feelings," inRader, pp. 371-378.

Friedrich Schiller, "Esthetic Play and Human Liberation," in Rader,pp. 477-483.

See Also: I. A. Richards, Principles of Literary Criticism, ch. 31 (esp. pp. 231-234).

The Earl of Listowel, Modern Aesthetics: An Historical Introduction,ch. 3, "The Theory of Play," pp. 23-26, and ch. 7, "The Theory of Einfühlung," pp. 49-87.

Van Meter Ames, pp. 575-579 of Understanding the World (selectionon Einfühlung).

Ducasse, The Philosophy of Art, ch. 7.

Hilde Hein, "Play as an Aesthetic Concept," JAAC, 27, 1 (Fall1968): 67-71.

Rene Wellek, "Vernon Lee, Bernard Berenson and Aesthetics," in hisDiscriminations, pp. 164-186.

M. B. Wiseman, "Empathetic Identification," APQ, 15 (1978):107ff.

LECTURE 3: "Psychical Distance and the Aesthetic Attitude"

Read: Edward Bullough, "Psychical Distance," in Rader, pp. 347-362.

George T. Dickie, "The Myth of the Aesthetic Attitude," inDuncan (Section 3).

See Also: Sheila Dawson, "'Distancing' as an Aesthetic Principle," The

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Australasian Journal of Philosophy, 39, 2 (Aug. 1961):154-174.

George T. Dickie, Introduction to Aesthetics, pp. 28-37.

C. A. Mace, "The Aesthetic Attitude," BJA, 12, 3 (Summer 1972):217-227.

Marshall Cohen, "Aesthetic Essence" in Max Black's Philosophy inAmerica, pp. 115-133.

My argument with Dickie in the "Letters Pro and Con" section, JAAC,23, 4 (Summer 1965): 517-521.

Aldrich, Philosophy of Art, ch. 1.

Virgil C. Aldrich, "Back to Aesthetic Experience," JAAC, 24, 3(Spring 1966): 364-371.

George Dickie, "Bullough and Casebier: Disappearing in theDistance," The Personalist, 53, 2 (Spring 1972): 127-131.

George Dickie, "Psychical Distance: In a Fog at Sea," BJA, 13, 1(Winter 1973): 17-29.

Jerome Stolnitz, "The Artistic and the Aesthetic" in Perspectivesin Education, Religion, and the Arts, ed. by Kiefer andMunitz, pp. 266-294.

James L. Jarrett, "On Psychical Distance," The Personalist, 52,1(Winter 1971): 61-69.

Allan Casebier, "The concept of Aesthetic Distance," The Personalist,52, 1 (Winter 1971): 70-91.

Timothy J. Reiss, "Psychical Distance and Theatrical Distance inSartre's Drama," Yale French Studies, 46 (1971): 5-16.

G. Dickie, "Taste and Attitude: The Origin of the Aesthetic,"Theoria, 39 (1973): 153ff.

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F. Kovach, "Aesthetic Disinterestedness in Premodern Thought,"Southwestern Journal of Philosophy, 5 (1974): 59ff.

R. McGregor, "Art and the Aesthetic," JAAC, 32 (1974): 549ff.

J. Kupperman, "Art and Aesthetic Experience," BJA, 15 (1975):29ff.

D. J. Crossley, "The Aesthetic Attitude: Back in Gear withBullough," The Personalist, 56 (1975): 336ff.

S. Pandit, "In Defense of Psychical Distance," BJA, 16 (1976):56ff.

K. Price, "The Truth About Psychical Distance," JAAC, 35 (1977):411ff.

J. Stolnitz, "'The Aesthetic Attitude' in the Rise of ModernAesthetics," JAAC, 36 (1978): 409ff.

J. Stolnitz, "The Artist and the Aesthetic in 'InterestingTimes'," JAAC, 37, 4 (Summer 1979): 401-413.

Gary Kemp, "The Aesthetic Attitude," BJA, 39, 4 (October 1999): 392-399.

LECTURE 4: "The Institutional Theory of Art"

Read: George Dickie, "What is Art? An Institutional Analysis" inRader, pp. 459-472.

V. Mendenhall, “Dickie and Cohen on What Art Is,” in Duncan, (Section 4).

See Also: Ted Cohen, "The Possibility of Art" in Margolis, pp. 186-202.

G. Dickie, "A Response to Cohen: the Actuality of Art," inDickie and Sclafani, pp. 196-200.

George Dickie, "Art As a Social Institution," ch. 11,Aesthetics: an Introduction, pp. 98-108.

G. Dickie, "The Institutional Conception of Art," in Languageand Aesthetics, ed. by Benjamin Tilghman, pp. 21-30.

M. H. Mitias, "Art as a Social Institution," The Personalist, 56

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(1975): 330ff.

A. Silvers, "The Artworld Discarded," JAAC, 34 (1976): 441ff.

M. Mitias, "The Institutional Theory of the Aesthetic Object," ThePersonalist, 58 (1977): 147ff.

R. J. Yanal, "The Institutional Theory of the Aesthetic Object:a Reply to Michael Mitias," The Personalist, 58 (1977): 156ff.

R. Cormier, "Art as a Social Institution," The Personalist, 58(1977): 161ff.

R. McGregor, "Dickie's Institutionalized Aesthetic," BJA, 17(1977): 3ff.

J. E. Bachrach, "Dickie's Institutional Definition of Art:Further Criticism," JAE, 11 (July 1977): 25ff.

Carolyn Korsmeyer, "On Distinguishing 'Aesthetic' from 'Artistic',"JAE, 11 (Oct. 1977): 45ff.

V. C. Aldrich, "McGregor on Dickie's Institutionalized Aesthetic,"JAAC, 36 (1977): 213ff.

D. Townsend, "Phenomenology and the Definition of Art, "South-western Journal of Philosophy, 8 (1977): 133ff.

Morris Weitz, The Opening Mind: a Philosophical Study ofHumanistic Concepts, pp. 81-90.

Michael D. Beaty, "The Institutional Theory of Art Examined,"critical paper written for the Master's Degree in Philosophy,Baylor University, June, 1975.

George Dickie, The Art Circle: A Theory of Art, 1984.

Stephen Davies, "A Defense of the Institutional Theory of Art,"The Southern Journal of Philosophy, Vol. XXVI, No. 3Fall, 1988, pp. 307-324.

George Dickie, "The New Institutional Theory of Art," in Dickie, Sclafani, and Roblin, eds., Aesthetics, a CriticalAnthology, 2nd ed., pp. 196-205.

Robert Stecker, "The End of an Institutional Definition of Art,"in Dickie, Sclafani and Roblin, pp. 206-213, and Dickie's

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"Reply to Stecker," pp. 214-217.

Robert Yanal, ed., Institutions of Art: Reconsiderations of George Dickie's Philosophy

George Dickie, “The Institutional Theory of Art,” Chapter 8 of Introduction to Aesthetics, pp. 82-93.

LECTURE 5: "Art as Pleasure Objectified"

Read: George Santayana, "The Nature of Beauty," in Rader, pp. 162-181.

See Also: Willard E. Arnett, Santayana and the Sense of Beauty, ch. 2.

Beardsley, Aesthetics, a Short History, pp. 328-332.

George Boas, "Santayana and the Arts" in Schilpp (ed), ThePhilosophy of George Santayana, pp. 241-261 (Santayanareplies, pp. 554-560).

Timothy L. S. Sprigge, Santayana, an Examination of HisPhilosophy.

Frederick A. Olafson, Article on Santayana in the Encycylopedia ofPhilosophy.

The biography by John McCormick, ch. 9, pp. 123-139.

The critical edition of The Sense of Beauty has an Introductionby Arthur Danto, pp. xv-xxviii.

Jerome Ashmore, Santayana, Art, and Aesthetics.

LECTURE 6: "Bergson?"

Read: Henri Bergson, "The Individual and the Type," in Rader, pp.73-80.

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See Also: Susanne K. Langer, Feeling and Form, ch. 7, pp. 104-119. Gabriel Marcel, "Bergsonism and Music" in Reflections on Art,

ed. by S. K. Langer, pp. 142-151.

T. Mitchell, "Bergson, Le Bon and Hermitic Cubism," JAAC, 36(1977): 175ff.

T. A. Goudge, article on Bergson in The Encyclopoedia of Philosophy.

T. E. Hulme, "Bergson's Theory of Art," in his Speculations, pp. 141-169.

T. E. Hulme, "A Personal Impression of Bergson" in The Life and Opinions of T. E. Hulme, edited by A. R. Jones, pp. 205-208,plus Jones' chapter on "H. Bergson," pp. 57-67.

Ruth Lorand, "Bergson's Concept of Art," BJA, 39, 4 (October 1999): 400-415.

And for lots more, see the Bibliography (see appendix "C" below) by P. A. Y. Gunter.

LECTURE 7: "Art as Experience"

Read: John Dewey, "Having an Experience," in Rader, pp. 137-151.

Dorothy Walsh, "Virtual Experience," in Rader, pp. 151-159.

Van Meter Ames, "John Dewey as Aesthetician," in Duncan, (Section 5).

See Also: Robert Newman Glass, “Theory and Practice in the Experience ofArt: John Dewey and the Barnes Foundation,” JAE, 6,3 (Fall 1997):pp. 91-105.

Bertram Morris, "Dewey's Theory of Art," in Guide to the Worksof John Dewey, ed. by Jo Ann Boydston, pp. 156-182.

Stephen C. Pepper, "Some Questions on Dewey's Esthetics" in

Schilpp's The Philosophy of John Dewey, pp. 369-389 (Deweyreplies, pp. 549-554).

Edward G. Ballard, "An Estimate of Dewey's Art as Experience," Tulane Studies in Philosophy, 4 (1955): 5-18.

Benedetto Croce, "On the Aesthetics of Dewey," JAAC, 6, 3

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(March 1948): 203-207. ("A Comment on the ForegoingCriticism" by John Dewey, pp. 207-209.)

Benedetto Croce, "Dewey's Aesthetics and Theory of Knowledge,"JAAC, 11, 1 (Sept. 1952): 1-6.

George H. Douglas, "A Reconsideration of the Dewey-Croce Exchange,"JAAC, 28, 4 (Summer 1970): 497-504.

John Dewey, Review of A History of Aesthetics by Bernard Bosanquet,PR, 2, 1 (Jan. 1893): 63-69.

George H. Mead, "The Nature of Aesthetic Experience," TheInternational Journal of Ethics, 36, 4 (July 1929): 382-393.

D. W. Gotshalk, "On Dewey's Aesthetics," JAAC, 23, 1 (Fall 1964):131-138.

Beardsley, Aesthetics, A Short History, pp. 332-342.

Ducasse, The Philosophy of Art, ch. 6.

Donald B. Kuspit, "Dewey's Critique of Art for Art's Sake," JAAC,27, 1 (Fall 1968): 93-98

Bertram Morris, "Dewey's Aesthetics: The Tragic Encounter withNature," JAAC, 30, 2 (Winter 1971): 189-196.

C. M. Smith, "The Aesthetics of John Dewey and Aesthetic Edu-cation," in Aesthetics and Problems of Education, ed. by RalphA. Smith, pp. 64-85.

L. J. Dennis and J. F. Powers, "Dewey, Maslow, and Consumma-tory Experience," JAE, 8 (Oct. 1974): 51ff.

S. Buettner, "John Dewey and the Visual Arts in America" JAAC,33 (1975): 383ff.

M. R. Kadish, "John Dewey and the Theory of Aesthetic Practice," in NewStudies in the Philosophy of John Dewey, ed. by S. M. Cahn, pp. 75ff.

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Dewey and His Critics: Essays from the Journal of Philosophy, editedby Sidney Morganbesser, The Journal of Philosophy, Inc.,New York, 1944, has two essays on "Dewey's Esthetic Theory" (both from 1935) by E. H. Shearer, plus another on "Art as Cognitive Experience" (1953) by James L. Jarrett.

Thomas M. Alexander,"The Art of Life: Dewey's Aesthetics," in ReadingDewey, Interpretations for a Postmodern Generation, edited by Larry A. Hickman, pp. 1-22.

And see the volumes on Dewey by Tiles and Westbrook.

LECTURE 8: "Art as Intuition"

Read: Benedetto Croce, "Intuition and Expression," in Rader, pp. 80-87.

See Also: Gilbert and Kuhn, A History of Esthetics (rev.), pp. 550-556.

Beryl Lake, " A Study of the Irrefutability of Two AestheticTheories," in Elton, Aesthetics and Language, pp. 110-113.

George Dickie, Introduction to Aesthetics, pp.62-69.

Bernard Bosanquet, "The Esthetic Attitude and Its Embodiments,"in Rader, pp. 195-200.

Curt Ducasse, The Philosophy of Art, ch. 3.

Beardsley, Aesthetics, a Short History, pp. 318-324.

John Hospers, "TheCroce-Collingwood Theory of Art," Philosophy,31, 119 (Oct. 1956): 291-308.

Peter Jones, "A Critical Outline of Collingwood's Philosophy ofArt," in Critical Essays on the Philosophy of R. G.Collingwood, ed. by Michael Krausz, pp. 42-67.

Richard Wollheim, "On an Alleged Inconsistency in Collingwood'sAesthetic," ibid., pp. 68-78.

Angelo A. de Gennaro, "Vico and Croce: The Genesis of Croce'sAesthetics," The Personalist, 50, 4 (Autumn 1969): 508-525.

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Merle E. Brown, Neo-Idealistic Aesthetics: Croce-Gentile-Collingwood.

George H. Douglas, "Croce's Expression Theory of Art Re-visited," The Personalist, 54 (Winter 1973): 60-70.

P. G. Ingram, "Art, Language and Community in Collingwood'sPrinciples of Art," JAAC, 37 (1978): 53ff.

Aaron Ridley, “Not Ideal: Collingwood’s Expression Theory,” JAAC, 55, 3 (Summer 1997): 263-272.

LECTURE 9: "The Mystery of Creation"

Read: Monroe C. Beardsley, "On the Creation of Art," in Duncan, (Section 6).

See Also: Vincent Tomas, “Creativity in Art," in his anthology, Creativityin the Arts, pp. 97-109 (all of the selections in this volumeare relevant).

Jack Glickman, "Creativity in the Arts," in Margolis, pp. 169-185.

Henry James, "The 'Germ' of a Story" and "The Art of Fiction," inVivas and Krieger, pp. 118-125.

Carl R. Hausman, "Mechanism or Teleology in the Creative Process,"JP, 58, 20 (Sept. 28, 1961): 577-584.

Vincent Tomas, "A Note on Creation in Art," JP, 59, 17(Aug. 16, 1962): 464-469.

Donald F. Henze, "Logic, Creativity and Art," The AustralasianJournal of Philosophy, 40, 1 (May 1962): 24-34.

Donald Brook and Maxwell Wright, "Henze on Logic, Creativity, andArt," The Australasian Journal of Philosophy, 41, 3(Dec. 1963): 378-385.

Donald F. Henze, "Creativity and 'Create': A Rejoinder to Brookand Wright," The Australasian Journal of Philosophy, 42, 1(May 1964): 103-109.

Donald F. Henze, "Creativity and Prediction," BJA, 6, 3 (July1966): 230-245.

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Gordon Westland, "The Investigation of Creativity," JAAC, 28, 2(Winter 1969): 127-131.

Gordon Westland, "Selection and Education for Creativity," BJA,10, 2 (April 1970): 152-161.

W. E. Kennick, "Creative Acts," Perspectives in Education,Religion, and the Arts, ed. by Kiefer and Munitz, pp. 238-261.

Jack Glickman, "On Creating (A Response)," ibid., pp. 262-265.

H. R. Nardow, "Creativity in Art and Ethics," JAAC, 34 (1975): 183ff.

H. Khatchadourian, "The Creative Process in Art," BJA, 17 (1977): 230ff.

H. Osborne, "Inspiration," BJA, 17 (1977): 242ff.

M. N. Mitias, "The Institutional Theory of Artistic Creativity,"BJA, 18 (1978): 330ff.

Harold Osborne, "The Concept of Creativity in Art," BJA, 19, 3(Summer 1979): 224-231.

LECTURE 10: "Apollinian and Dionysian"

Read: Friedrich Nietzsche, "Apollinian and Dionysian Art" in Rader, pp. 91-108.

See Also: Salim Kemal, Joan Gaskell, and Daniel W. Conway, Nietzsche, Philosophyand the Arts, Cambridge, 1998.

Kaufmann, Nietzsche, ch. 6.

Beardsley, Aesthetics, A Short History, pp. 275-279.

Gilbert and Kuhn, A History of Esthetics, pp. 516-523.

E. M. Butler, "The Dionysiac: Friedrich Nietzsche [1844-1900],"in The Tyranny of Greece over Germany, pp. 307-315.

Santayana, The German Mind, ch. 11-13, pp. 114-143.

Edward F. Mooney, "Nietzsche and the Dance," Philosophy Today,14, 1 (Spring 1970): 38-43.

John Sallis, "The Play of Tragedy," Tulane Studies in Philosophy,

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19 (1970): 89-108.

Richard Schacht, "Nietzschean Art in The Birth of Tragedy" inDickie and Sclafani, pp. 269-312.

Check also books in the bibliography on Nietzsche by Macintyre,Solomon and Higgins, and Silk and Stern.

LECTURE 11: "Psychology and Aesthetics"

Read: Sigmund Freud, "Wish-Fulfillment and the Unconscious" in Rader,pp. 108-120.

See Also: Douglas Morgan, "Psychology and Art Today" in Vivas and Krieger, pp. 30-47.

George T. Dickie, "Is Psychology Relevant to Aesthetics?", PR,71, 3 (July 1962): 285-302.

Campbell Crockett, "Psychoanalysis in Art Criticism," JAAC,17, 1(Sept. 1958): 34-44.

Paul Grimley Kuntz, "The Hidden Order of Anton Ehrenzweig: A Review Article," JAAC, 27, 3 (Spring 1969): 349-360.(Includes an extensive bibliography.)

C. A. Mace, "Psychology and Aesthetics," in Aesthetics in theModern World, ed. by Harold Osborne, pp. 283-299.

Richard Wollheim, "Freud and the Understanding of Art," BJA, 10, 3(July 1970): 211-224.

R. W. Pickford, "Dream-Work, Art-Work, and Sublimation in Relationto the Psychology of Art," BJA, 10, 3 (July 1970): 275-283.

Harold James McWhinnie, "Is Psychology Relevant to Aesthetics?(George Dickie-Revisited),{ Proceedings of the AnnualConvention of the American Psychological Association, 6, 1(1971): 419-420.

J. K. Feibleman, "The Psychology of Artistic Endeavor," ScientificAesthetics, 1 (1976): 35ff.

H. Gardner, "Challenges for a Psychology of Art," ScientificAesthetics, 1 (1976): 19ff.

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LECTURE 12: "Is There an Aesthetic Experience?"

Read: Monroe C. Beardsley, "The Aesthetic Point of View," in Duncan, (Section 7).

See Also: The symposium involving J. O. Urmson and David Pole, "What Makes aSituation Aesthetic?" in PAS, Supp. 31 (1957): 75-106.

Margolis, The Language of Art and Art Criticism, chs. 1-2.

R. K. Elliott, "Aesthetic Theory and the Experience of Art," inMargolis, (2nd ed.), pp. 45-57.

George Dickie, "Beardsley's Phantom Aesthetic Experience," JP, 62,5 (March 6, 1965): 129-136.

Monroe C. Beardsley, "Aesthetic Experience Regained," JAAC,28, 1 (Fall 1969): 3-11.

J. N. Findlay, "The Perspicuous and the Poignant," BJA, 7, 1(Jan. 1967): 3-19.

H. W. Janson, “Comments on Beardsley’s ‘The Aesthetic Point of View,’”

Metaphilosophy, 1,1 (Jan. 1970): 59-62, and Beardsley’s “Reply to Professor Janson,” 63-65.

Kingsley Price, "What Makes an Experience Aesthetic?", BJA, 19, 2(Spring 1979): 131-143.

LECTURE 13: "Can 'Art' Be Defined?"

Read: Morris Weitz, "The Role of Theory in Aesthetics" in Rader, pp. 434-443.

See Also: Richard Kamber, “Weitz Reconsidered: A Clearer View of Why Theories of Art Fail,” BJA, 38, 1 (January 1998): pp. 33-46.

Ludwig Wittgenstein, "Games and Definitions" in Rader, pp. 430-434.

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Maurice Mandelbaum, "Family Resemblances and GeneralizationConcerning the Arts" in Rader, pp. 444-458.

Margolis, The Language of Art and Art Criticism, ch. 3.

Lee B. Brown, "Definitions and Art Theory," JAAC, 27, 4 (Summer(1969): 409-415.

George Dickie, "Defining Art," APQ, 6, 3 (July 1969): 253-256.

Frank Sibley, "Is Art an Open Concept?, An Unsettled Question,"Proceedings of the IV International Congress of Aesthetics,1960, pp. 545, 548.

"On Arts and the Definition of Arts, a Symposium," Monroe C.Beardsley, "The Definitions of Arts," pp. 175-187; Douglas N.Morgan, "Art Pure and Simple," pp. 187-195; and MaryMothersill, "Critical Comments," pp. 195-198, JAAC, 20, 2(Winter, 1961).

Erich Kahler, "What is Art?", in Problems in Aesthetics (1st ed.),edited by Morris Weitz, pp. 157-171.

Joseph Margolis, "Mr. Weitz and the Definition of Art" in Problemsin Criticism of the Arts, edited by Holley Gene Duffield,pp. 226-235.

Lewis K. Zerby, "A Reconsideration of the Role of Theory inAesthetics--a Reply to Morris Weitz," in Duffield, pp.236-239.

Arnold Berleant, "A Note on the Problem of Defining Art," inDuffield, pp. 240-242.

R. E. Racy, "The Aesthetic Experience,"BJA, 9, 4 (Oct. 1969):345-352.

John Clammer, "On Defining the Aesthetic Experience," BJA, 10,2 (April 1970): 147-151.

R. T. Allen, "The Aesthetic Experience Again," BJA, 10, 4(Oct. 1970): 344-349.

Richard Sclafani, "'Art' and Artifactuality," The SouthwesternJournal of Philosophy, 1, 3 (Fall 1970): 103-110.

Lee B. Brown, "Traditional Aesthetics Revisited," JAAC, 29, 4

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(Spring 1973): 343-351.

Wladaslaw Tatarkiewicz, "What is Art? The Problem of DefinitionToday," BJA, 11, 2 (Spring 1971): 134-153.

Berel Lang, "'What is Art': Questions (and Answers) About theQuestion," PPR, 33, 4 (June 1973): 524-530.

B. R. Tilghman, "Wittgenstein, Games and Art," JAAC, 31, 4 (Summer 1973): 517-524.

T. J. Diffey, "Essentialism and the Definition of 'Art'," BJA,13, 2 (Spring 1973): 103-120.

Morris Weitz, "Wittgenstein's Aesthetics" in Language andAesthetics, edited by Benjamin Tilghman, pp. 7-19.

Morris Weitz, ch. 2 on "Open Concepts" (pp. 25-48), ch. 3 on"Art" (pp. 49-90) in his The Opening Mind: a PhilosophicalStudy of Humanistic Concepts.

R. B. Edlow, "On Definition and Evaluation of Works of Art,"Southern Journal of Philosophy, 13 (1975): 281ff.

M. H. Snoeyenbos, "Art: Theory and Definition," SouthernJournal of Philosophy, 14 (1977): 227ff.

T. R. Martland, "Art?", APQ, 15 (1978): 229ff.

The papers in the Curtler volume, What is Art?, are all relevant,especially the lead essay by Monroe Beardsley, "An AestheticDefinition of Art."

George T. Dickie, Introduction to Aesthetics, pp. 69-73.

LECTURE 14: "The Work of Art"

Read: Stephen C. Pepper, "Contextualistic Criticism," in Rader, pp. 404-416.

Stephen C. Pepper, "What is a Work of Art?", in Duncan, (Section 9).

See Also: Carola Giedeon-Welcker, "Court Proceedings Brought Against NewYork Customs Officials," in Constantin Brancusi, pp. 212-217.

Stanley Cavell, "Music Discomposed"; comments by Margolis and

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Beardsley, Rejoinder by Cavell, in Art, Mind and Religion,edited by Capitan and Merrill, pp. 69-132.

Van Meter Ames, "Is it Art?", JAAC, 30, 1 (Fall 1971): 39-48.

B. R. Tilghman, "Aesthetic Perception and the Problem of the'Aesthetic Object'," Mind, 75, 229, (July 1966): 351-367.

Donald F. Henze, "Is the Work of Art a Construct? A Reply toProfessor Pepper," JP, 52, 16 (Aug. 4, 1955): 433-439.

Stephen C. Pepper, "Autobiography of an Aesthetics," JAAC, 28 3(Spring 1970): 275-286.

My "Stephen C. Pepper: a Bibliography," ibid., pp. 287-294.

William B. Fritter, "Is Wine an Art Object?", JAAC, 30, 1 (Fall1971): 97-100.

Michael Mitias, "Is Wine an Art Object?", The Personalist, 54(Spring 1973): 188-191.

Special double issue of Paunch, no. 53-54 (1980) on the work ofS. C. Pepper.

Special double issue of The Journal of Mind and Behavior, 3,3-4 (Summer and Autumn 1984) on the work of S. C. Pepper.

LECTURE 15: "Significant Form"

Read: Clive Bell, "Significant Form," in Rader, pp. 287-297.

See Also: Eva Schaper, "Significant Form" Proceedings of the IV Inter-national Congress on Aesthetics, Athens, 1960, pp. 739-742.

Dickie, Introduction to Aesthetics, pp. 53-58.

Articles by Read, Elliot, Meager, Osborne and Dickie, BJA, 5, 2(April 1965).

Rosalind Edman, "The Paradoxes of Formalism," BJA, 10, 4 (Oct. 10,1970): 350-358.

C. J. Ducasse, "Significant Form" in his Philosophy of Art,pp. 309-316.

18

Of related interest, see my "Has Anyone Committed the Natu-ralistic Fallacy?", The Southern Journal of Philosophy, 8, 1(Spring 1970): 49-55.

William G. Bywater, Jr., Clive Bell's Eye (1975).

T. M. McLaughlin, "Clive Bell's Aesthetic: Tradition and Signif-icant Form," JAAC, 35 (1977): 433ff.

D. G. Taylor, "The Aesthetic Theories of Roger Fry Reconsidered,"JAAC, 36 (1977): 63ff.

Noel Carroll, "Clive Bell's Aesthetic Hypothesis," in Dickie, Sclafaniand Roblin, Aesthetics, a Critical Anthology, 2nd ed., pp. 84-95.

Carol S. Gould, "Clive Bell on Aesthetic Experience and Aesthetic Truth," BJA, Vol. 34, No. 3, April, 1994, pp. 124-133.

LECTURE 16: "Aesthetic Surface"

Read: My "The Aesthetic Works of D. W. Prall: A Review Article," in Duncan, (Section 10) (with a bibliography on Prall).

W. H. Werkmeister, "Prall's Aesthetically Oriented Theory," in Duncan, (Section 11).

See Also: Henry David Aiken, "Art as Expression and Surface," JAAC, 4, 2(Dec. 1945): 87-95.

George Dickie, "Reconsiderations 6. D. W. Prall, AestheticJudgement," JAAC, 42, 2, (Fall 1983): 83-85.

Richard McCarty, "The Thick and Thin of David Prall's Aesthetics,"The Southern Journal of Philosophy, 24, 1 (Spring, 1986): 133-139.

My "Toward Root Metaphor: Pepper's Writings in the University ofCalifornia Publications in Philosophy,” The Journal of Mind andBehavior, Vol 3, No. 4, Autumn, 1982, pp. 375-380.

LECTURE 17: "Art as Expression--I"

19

Read: The Essays by Veron, Tolstoy and Ducasse in Rader, pp. 50-70.

See Also: Monroe C. Beardsley, "The Aesthetic Problem of Justification,"JAE, 1, 2 (Autumn 1966): 29-39.

Beardsley, Aesthetics, Problems, ch. 12, 3sp. pp. 564-571.

Beardsley, Aesthetics, History, pp. 308-313.

Ducasse, The Philosophy of Art, ch. 2.

Don Gieger, "Tolstoy as a Defender of a 'Pure Art' that UnwrapsSomething," JAAC, 20, 1 (Fall 1961): 81-89.

Iredell Jenkins, "From Imitation to Expression to Abstraction toPsychologism--to Expression!", The Southern Journal ofPhilosophy, 7, 3 (Fall 1969): 297-305.

Edward S. Casey, "Expression and Communication in Art," JAAC, 30, 2(Winter 1971): 197-207.

C. Daniels, "Tolstoy and Corrupt Art," JAE, 8 (1974): 41ff.

G. R. Jahn, "The Aesthetic Theory of Leo Tolstoy's What is Art?",JAAC, 34 (1975): 59ff.

Stanley Bates, "Tolstoy Evaluated: Tolstoy's Theory of Art," inDickie and Sclafani, pp. 83-93.

Aylmer Maude, Tolstoy on Art.

LECTURE 18: "Art as Expression--II"

Read: O. K. Bouwsma, "The Expression Theory of Art," in Duncan, (Section 12).

See Also: Vincent Tomas, "The concept of Expression in Art," (with responsesby Douglas Morgan and Monroe Beardsley) in ArtisticExpression, edited by John Hospers, pp. 250-287 (all of theessays in this volume are relevant).

Alan Tormey, "Art and Expression: a Critique," in Margolis,pp. 421-437.

Dickie, Introduction to Aesthetics, pp. 120-124.

20

R. K. Elliot, "Aesthetic Theory and the Experience of Art," PAS, 67(1966-67): 111-126.

M. Barasch, "Mode and Expression in Meyer Schapiro's Writings onArt," Social Research, 45 (1978): 52ff.

LECTURE 19: "Art as Language--I"

Read: E. H. Gombrich, "Truth and the Stereotype" in Rader, pp. 33-47.

See Also: Mary Mothersill, "Is Art a Language?", JP, 62, 20 (Oct. 21, 1965):559-572 (followed by abstracts of replies by Virgil C. Aldrichand Vincent Tomas).

Virgil C. Aldrich, "Mothersill and Gombrich on 'The Language ofArt'," BJA, 8, 4 (Oct. 1968): 359-364.

Carolyn Korsmeyer, "Pictures and the Relativity of Perception," The Personalist, 60, 3 (July 1979): 290-297.

Daniel Drake Reiff, "The Scope and Impact of the Study of ArtHistory as Offered by the Baylor Department of Art," TheBaylor Line, 30, 1 (Jan.-Feb. 1968): 30-32.

Charles W. Morris, "Science, Art and Technology" in Vivas and Krieger, pp. 105-115.

Richard Wollheim, "Art and Illusion," in Aesthetics in the ModernWorld, edited by Harold Osborne, pp. 235-263.

Charles W. Morris, "Esthetics and the Theory of Signs," The Journalof Unified Science (Erkenntnis), 8, 1-3 (June 1, 1939):131-150.

Charles Morris and David J. Hamilton, "Aesthetics, Signs, and Icons," PPR, 25, 3 (March 1965): 356-364.

21

Charles Morris, "Significance, Signification, and Painting," inLepley, The Language of Value, pp. 58-76 (Comments by IanMcGreal, pp. 274-277, Response by Morris, pp. 277-280).

Louis Nisbet Roberts, "'Art as Icon', an Interpretation of C. W. Morris," Tulane Studies in Philosophy, 4 (1955): 75-82.

LECTURE 20: "Art as Language--II"

Read: Susanne K. Langer, "Expressiveness and Symbolism" in Rader, pp. 240-254.

See Also: Ernest Nagel, Review of Langer, Philosophy in a New Key, JP, 40,12 (June 10, 1943): 323-329.

Dickie, Introduction to Aesthetics, pp. 58-62.

Charles L. Stevenson, "Symbolism in the Nonrepresentational Arts,"in Henle, Language, Truth and Culture, pp. 196-225.

M. Macdonald, Review of Feeling and Form, Mind, 64, 256 (Oct.1955): 549-553.

Joseph Margolis, Review of Feeling and Form, JP, 52, 11 (May 26,1954): 291-296.

Berel Lang, "Langer's Arabesque and the Collapse of the Symbol,"The Review of Metaphysics, 16, 2 (Dec. 1962): 349-365.

Herbert Read, "Describing the Indescribable," Review of Langer'sMind: An Essay on Human Feeling, Saturday Review, July 15,1967, pp. 32-33.

Other reviews of Mind: An Essay on Human Feeling were written by:Melvin Rader, JAAC, 26, 4 (Summer 1968): 543-545; F. E.Sparshott, JAE, 2, 3 (July 1968): 135-137; Cyril Barrett, ThePhilosophical Quarterly, 19, 75 (April 1969): 187-189; V. J.McGill, PPR, 29, 1 (Sept. 1968): 141-143; Morris Weitz, PR, 78,4 (Oct. 1969): 525-528.

Peter A. Bertocci, "Susanne K. Langer's Theory of Feeling andMind," The Review of Metaphysics, 23, 3 (March 1970): 527-

551.

Louis Arnaud Reid, "Susanne Langer and Beyond," BJA, 8, 4 (Oct. 1965): 357-367.

22

Louis Arnaud Reid, "New Notes on Langer," BJA, 8, 4 (Oct. 1968):353-358.

Forest Hanson, "Langer's Expressive Form: An Interpretation,"JAAC, 27, 2 (Winter 1968): 165-170.

Thomas Binkley, "Langer's Logical and Ontological Modes," JAAC, 284 (Summer 1970): 455-464.

Richard Courtney, "On Langer's Dramatic Illusion," JAAC, 29, 1(Fall 1970): 11-20.

Errol E. Harris, Review article on Langer's Mind: An Essay onHuman Feeling, The Journal of Value Inquiry, 4, 4 (Winter1970): 308-313.

Samuel Bufford, "Susanne Langer's Two Philosophies of Art," JAAC,31, 1 (Fall 1972): 9-20.

Eva Schaper, "Cosmic Biology and the 'Great Shift'" (Review ofLanger's Mind, Vol. 2), Inquiry, 17, 3 (Autumn 1974): 366-369.

Garry Hagberg, "Art and the Unsayable: Langer's TractarianAesthetics," BJA, 24, 4 (Autumn 1984): 325-340.

Sister Mary Francis Slattery, "Looking Again at Susanne Langer'sExpressionism," BJA, 27, 3 (Summer 1987): 247-258.

Actually, one of the best bibliographies I've seen on Langer wasdone by one of our Baylor Honors Program students in a senioressay some years ago: Patrick M. Conoley, Around and About theWork of Susanne K. Langer, 1972.

LECTURE 21: "Art as Language--III"

Read: Nelson Goodman, "Art and Inquiry," in Duncan, (Section 8).

See Also: Richard Wollheim, "On Drawing an Object" in Margolis, 2nd ed.pp. 249-272.

Nelson Goodman, "Reality Remade" In Margolis, pp. 283-306(actually all of the papers in this section are relevant).

Patrick Maynard, "Depiction, Vision and Convention," in Margolis,

23

(2nd ed.) pp. 273-288.

There have been at least two "special issues" in journals devoted to Goodman's Languages of Art--The Monist, 58, 2 (April 1974),has fourteen papers on the topic. See esp. Joseph Margolis, “ArtAs Language,” (reprinted in Duncan, Section 13). Erkenntnis devoted two issues to Goodman; 1 and 2 of vol. 12 of 1978 (No. 1 has several papers on Languages of Art).

Richard Wollheim, "Nelson Goodman's Languages of Art," JP, 67, 16(Aug. 20, 1970): 531-539.

Benjamin Boretz, "Nelson Goodman's Languages of Art from a MusicalPoint of View," ibid., pp. 540-552.

Barbara Herrnstein Smith, "Literature as Performance, Fiction and Art," ibid., pp. 553-563.

Nelson Goodman, "Some Notes on Languages of Art," ibid., pp. 563-573.

Monroe C. Beardsley, Review of Languages of Art, Philosophy ofScience, 37, 3 (Sept. 1970): 458-463.

C. M. Smith, "Symbolic Systems, Cognitive Efficacy, and AestheticEducation" (Review Article on Languages of Art), JAE 3, 44 (Oct. 1969): 123-136.

Joseph Margolis, "Numerical Identity and Reference in the Arts,"BJA, 10, 2 (April 1970): 138-146.

A. G. Playdell-Pearce, Review of Languages of Art, ibid., pp.191-194.

C. F. Presley, Critical Notice of Languages of Art, AustralasianJournal of Philosophy, 48, 3 (Dec. 1970): 373-393.

Anthony Savile, "Nelson Goodman's Languages of Art: a Study," BJA,11, 1 (Winter 1971): 3-27.

B. A. Howard "Harvard Project Zero: a Fresh Look at Art Edu-cation," JAE, 5, 1 (Jan. 1971): 61-73.

Matthew Lipman, Review of Goodman's Languages of Art, Man andWorld, 3 (May 1970): 147-150.

Morris Weitz, "Professor Goodman on the Aesthetic," JAAC, 29, 4(Summer 1971): 483-487.

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William E. Webster, "Music is not a Notational System," ibid., pp.489-497.

V. A. Howard, "On Musical Expression," BJA, 11, 3 (Summer 1971):268-280.

James W. Manns, "Representation, Relativism and Resemblance," BJA,11, 3 (Summer 1971): 281-287.

Kendall L. Walton, "Languages of Art: An Emendation," Philo-sophical Studies, 22, 5-6 (Oct.-Dec. 1971): 82-85.

B. C. Oneill, Critical Study of Languages of Art, PhilosophicalQuarterly, 21 (Oct. 1971): 361-372.

Paul Ziff, "Goodman's Languages of Art," PR, 80, 4 (Oct. 1971):509-515.

Cyril Barrett, Review of Languages of Art, British Journal for thePhilosophy of Science, 22, 2 (May 1971): 187-198.

Nelson Goodman, David Perkins and Howard Gardner (eds.), HarvardProject Zero: Basic Abilities Required for Understanding andCreation in the Arts (Graduate School of Education, HarvardUniversity, 1972).

Richard Peltz, "Nelson Goodman on Picturing, Describing, andExemplifing," JAE, 6 (July 1972): 71-86.

Anthony Ralls, "The Uniqueness and Reproducibility of a Work ofArt: a Critique of Goodman's Theory," The PhilosophicalQuarterly, 22, 1 (Jan. 1972): 1-18.

N. G. B. Harris, "Goodman's Account of Representation." JAAC, 21,3 (Spring 1973): 323-327.

H. Gardner, "Challenges for a Psychology of Art," ScientificAesthetics, 1 (1976): 1ff.

W. Charlton and Anthony Savile, "The Art of Apelles," PAS, Supp.Vol. 53 (1979): 167-206.

George Dickie, Introduction to Aesthetics, pp. 152-156.

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LECTURE 22: "The Artist's Intention"

Read: William K. Wimsatt, Jr. and Monroe C. Beardsley, "The IntentionalFallacy," in Duncan, (Section 14).

See Also: Marcia Muelder Eaton, “Intention, Supervenience and Aesthetic Realism,” BJA, 38, 3 (July 1998): pp. 279-293.

George Dickie and W. Kent Wilson, “The Intentional Fallacy:Defending Beardsley,” JAAC, 53, 3 (Summer 1995): pp. 233-250.

Frank Cioffi, "Intention and Interpretation in Criticism," inMargolis, pp. 381-399.

Dickie, Introduction to Aesthetics, pp. 97-105.

Monroe C. Beardsley and William K. Wimsatt, entry on "Intention"in Shipley, Dictionary of World Literature, pp. 326-329.

Beardsley, Aesthetics, Problems . . . , pp. 17-29 (on interpreta-tion) and pp. 452-464 (on evaluation).

Isabel C. Hungerland, "The Concept of Intention in Art Crit-icism," JP, 52 (Nov. 24, 1955): 733-742.

Henry David Aiken, "The Aesthetic Relevance of Artists' Inten-tions," in Weitz, Problems in Aesthetics, First Edition, pp.295-305 (or JP, immediately following the Hungerland paper).

John Kemp, "The Work of Art and the Artist's Intentions," BJA,4, 2 (April 1964): 146-154.

Margolis, "The Intention of the Artist," ch. 7 of The Language ofArt and Art Criticism, pp. 95-103.

Theodore Redpath, "Some Problems of Modern Aesthetics, (1) The Meaningof a Poem," in Mace, British Philosophy in the Mid-Century, pp. 361-375.

Anthony Savile, "The Place of Intention in the Concept of Art,"PAS, 69 (1968-69): 101-124.

Marcia M. Eaton, "Art, Artifacts, and Intentions," APQ, 6, 2(April 1969): 165-169.

Monroe C. Beardsley, "Textual Meaning and Authorial Meaning,"Genre, 1, 3 (July 1968): 169-181.

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George Dickie, "Meaning and Intention," Genre, 1, 3 (July 1968):182-189.

Berel Lang, "The Intentional Fallacy Revisited,"BJA, 14, 4(Autumn 1974): 306-314.

R. Pfaff, "Art and Group Intentions," The Personalist, 58 (1977):68ff.

M. Sirridge, "Artistic Intention and Critical Prerogative," BJA,18 (1978): 137ff.

M. Roskill, "On the Artist's Privileged Status," Philosophy, 54(1979): 187ff.

Colin Lyas, "Anything Goes: The Intentional Fallacy Revisited,"BJA, 23, 4 (Autumn 1983): pp. 291-305.

Monroe C. Beardsley, "The Philosophy of Literature" in Dickie,Sclafani and Roblin, Aesthetics, a Critical Anthology, 2nd. ed., pp. 420-430.

LECTURE 23: "Aesthetic Concepts"

Read: Frank Sibley, "Aesthetic Concepts," in Duncan, (Section 15).

Isabel C. Hungerland, "Once Again, Aesthetic and Non-Aesthetic,"in Duncan, (Section 17).

See Also: Kendall L., Walton, Categories of Art," in Margolis, pp. 53-79.

Frank Sibley, "Aesthetic Concepts," PR, 68, 4 (Oct. 1959):421-450.

Virgil C. Aldrich, Philosophy of Art (Englewood cliffs, New Jersey:Prentice-Hall, Inc., n.d.), pp. 20, 80, 87, 99.

H. R. G. Schwyzer, "Sibley's 'Aesthetic Concepts'," PR, 72, 1 (Jan.1963): 72-78.

Frank Sibley, "Aesthetic Concepts: A Rejoinder," PR, 72, 1 (Jan.1963): 79-82.

Isable C. Hungerland, "The Logic of Aesthetic Concepts," Pro-ceedings and Addresses of the American Philosophical As-

27

sociation, 1962-63 (Oct. 1963): 43-66.

R. David Brioles, "Frank Sibley's 'Aesthetic Concepts', JAAC, 23,2 (Winter 1964): 219-225.

Joseph Margolis, The Language of Art and Art Criticism: AnalyticQuestions in Aesthetics (Detroit: Wayne State UniversityPress, 1965), pp. 111-116.

Frank Sibley, "Aesthetic and Nonaesthetic," PR, 74, 2 (April 1965):135-139.

Joseph Margolis, "Sibley on Aesthetic Perception," JAAC, 25, 2(Winter 1966): 155-158.

Frank Sibley, "Symposium: About Taste (2)," BJA, 6, 1 (Jan. 1966):68-69.

K. Mitchells, "Aesthetic Perception and Aesthetic Qualities," PAS,67 (1966-67): 53-72.

J. F. Logan, "More on Aesthetic concepts," JAAC, 25, 4 (Summer1967): 401-406.

T. J. Diffey, "Evaluation and Aesthetic Appraisals," BJA, 7, 4(Oct. 1967): 358-373.

Peter Kivy, "Aesthetic Aspects and Aesthetic Qualities," JP, 65, 4(Feb 22, 1968): 85-93.

David M. Levin, "More Aspects to the Concept of 'AestheticAspects'," JP, 65, 16 (Aug. 22, 1968): 483-490.

Marcia P. Freedman, "The Myth of the Aesthetic Predicate," JAAC,26, 1 (Fall 1968): 49-55.

F. N. Sibley, "Objectivity and Aesthetics, I," PAS, Supp. Vol. 62(1968): 31-54.

Michael Tanner, "Objectivity and Aesthetics, II, " PAS, Supp. Vol. 62(1968): 55-72.

Amy Goldin, Response to Hungerland in the "Letters Pro and Con"Section, JAAC, 27, 2 (Winter 1968): 227-229.

Marcia Cavell, "Critical Dialogue," JP, 67, 10 (May 28, 1970):339-351.

28

Kendal L. Walton, "Categories of Art," PR, 79, 3 (July 1970):334-367.

Dorothy Walsh, "Aesthetic Descriptions," BJA, 10, 3 (July 1970):237-247.

R. Meager, "Aesthetic Concepts," BJA, 10, 4 (Oct. 1970): 303-322.

J. Williamson, Review of Philosophy Looks at the Arts, edited byJoseph Margolis, Australasian Journal of Philosophy, 41, 3(Dec. 1963): 432-440.

Gary Stahl, "Sibley's Aesthetic Concepts': An Ontological Mis-take," JAAC, 29, 3 (Spring 1971): 385-389.

Haig Khatchadourian, ch. 5 and 6 of his The Concept of Art, pp.90-139.

Allan Casebier, "The Alleged Special Logic for Aesthetic Terms,"JAAC, 31, 3 (Spring 1973): 357-364.

Gary Iseminger, "Aesthetic Judgments and Non-Aesthetic Condi-tions," Analysis, 33 (March 1973): 129-132.

M. C. Beardsley, "What is an Aesthetic Quality?", Theoria, 39(1973): 50ff.

Peter Kivy, Speaking of Art (The Hague: Martinus Nijhoff, 1973).

J. Rudinow, "Kivy on Aspects," The Personalist, 56 (1975): 77ff.

E. Simpson, "Aesthetic Appraisal," Philosophy, 50 (1975): 189ff.

P. Kivy, "What Makes 'Aesthetic' Terms Aesthetic," PPR, 36 (1975): 197ff.

W. A. Hyde, "What Else Makes Aesthetic Terms Aesthetic?", PPR, 39(1978): 124ff.

29

P. Kivy, "The Point of it all: An Answer to Professor Hyde," PPR,39 (1978): 131ff.

R. A. Shiner, "On Giving Works of Art a Face," Philosophy, 53(1978): 307ff.

P. Kivy, "Aesthetic Concepts: Some Fresh Considerations," JAAC,37 (1979): 423ff.

Colin Lyas, “Frank Sibley: In Memoriam,” BJA, 36 (1996): 345-355.

LECTURE 24: "Tolerance in Interpretation?"

Read: Joseph Margolis, "The Logic of Interpretation," in Duncan, (Section 16).

Marcia Muelder Eaton, "Good and Correct Interpretations ofLiterature," in Duncan, (Section 18).

See Also: Monroe C. Beardsley, "The Testability of an Interpretation," inMargolis, pp. 466-483.

Joseph Margolis, "Robust Relativism," in Margolis, pp. 484-498.

Aldrich, Philosophy of Art, ch. 1.

F. David Martin, "Naming Paintings," The Art Journal, 25, 3(Spring 1966): 252-256.

Monroe C. Beardsley, "Modes of Interpretation," Journal of theHistory of Ideas, 32, 1 (Jan.-March 1971): 143-148.

Peter Jones, "Works of Art and Their Availability-for-use," BJA,11, 2 (Spring 1971): 115-122.

M. C. Beardsley, "Some Problems of Critical Interpretation: aCommentary," JAAC, 36 (1978): 351ff.

A. Savile, "Tradition and Interpretation," JAAC, 36 (1978):303ff.

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LECTURE 25: "Hermeneutics?"

Read: H. G. Gadamer, "Hermeneutical Experience" in Margolis, pp.499-517.

See Also: Diane P. Michelfelder, “Gadamer on Heidegger on Art,” pp. 437-456 (Gadamer replies, pp. 456-458) in The Philosophy of Hans-Georg Gadamer, edited by Lewis Edwin Hahn.

Joan Stambaugh, “Gadamer on the Beautiful,” pp. 131-134 (Gadamerreplies, p. 135).

E. D. Hirsch, Jr., "Gadamer's Theory of Interpretation," inMargolis, pp. 438-454.

Paul Ricoeur, "Metaphor and the Central Problem of Hermeneutics,"in Margolis, pp. 577-592.

Jacques Derrida, "The End of the Book and the Beginning ofWriting," in Margolis, pp. 553-576.

Roland Barthes, "From Work to Text," in Margolis, pp. 518-524.

Palmer, Richard E., Hermeneutics: Interpretation Theory inSchleiermacher, Dilthey, Heidegger, and Gadamer.

LECTURE 26: "The 'Ontology' of Art"

Read: Richard Wollheim, "Art and Its Objects," in Margolis, pp. 208-238.

See Also: Nicholas Wolterstorff, "Towards an Ontology of Art Works" inMargolis, pp. 229-252.

Joseph Margolis, "The Ontological Peculiarity of Works of Art,"in Margolis, pp. 253-260.

J. Maitland, "Identity, Ontology and the Work of Art," TheSouthwestern Journal of Philosophy, 6 (1975): 181ff.

C. Korsmeyer, "Wittgenstein and the Ontological Problem of Art,"The Personalist, 59 (1978): 152ff.

The books of Wollheim and Wolterstorff in Bibligraphy "C" below.

31

LECTURE 27: "Truth and Fiction"

Read: Symposium on "Imaginary Objects": papers by G. Ryle,R. B. Braithwaite, and G. E. Moore, in Duncan, (Section 19).

See Also: Margaret Macdonald, "The Language of Fiction," in Margolis, 2nded. pp. 424-437.

Alvin Plantinga, "Possible but Unactual Objects: On What ThereIsn't," in Margolis, (2nd. ed.) pp. 438-450.

Michael Scriven, The Language of Fiction--II," PAS, Supp. Vol. 28(1954): 185-196.

Beardsley, Aesthetics, Problems . . . , ch. 8.

Margolis, The Language of Art and Art Criticism, ch. 11.

F. E. Sparshott, "Truth in Fiction," JAAC, 26, 1 (Fall 1967): 3-7.

Richard M. Gale, "The Fictive Use of Language," Philosophy, 46(Oct. 1971): 324-339.

Marcia Eaton, "The Truth Value of Literary Statements," BJA, 12, 2(Spring 1972): 163-174.

L. B. Cebik, "Creation, Predication, and Pickwick," SouthwesternJournal of Philosophy, 6 (1975): 39ff.

M. J. Sirridge, "Truth from Fiction?", PPR, 35 (1975): 453ff.

LECTURE 28: "Metaphor"

Read Haig Khatchadourian, "Metaphor," in Duncan, (Section 20).

See Also: Max Black, "Metaphor" in Margolis, pp. 535-552.

Margolis, The Language of Art and Art Criticism, pp. 165-177.

Dickie, Introduction to Aesthetics, pp. 113-119.

Paul Henle, "Metaphor" in his Language, Thought, and Culture, pp. 173-195.

Beardsley, Aesthetics, Problems . . . , ch. 3, sec. 10.

32

Monroe C. Beardsley, "The Metaphorical Twist," PPR, 22, 3 (March1962): 293-307.

Arnold Isenberg, "On Defining Metaphor" JP, 60, 21 (Oct. 10, 1963):609-622 (folllowed by an abstract of a reply by Paul Welsh).

Edith Watson Schipper, "A Note on Metaphor," JAAC, 27, 2 (Winter1968): 199-201.

Alston, Philosophy of Language, pp. 96-106.

Virgil C. Aldrich, "Visual Metaphor," JAE, 2, 1 (Jan. 1968): 73-87.

Paul J. Olscamp, "How Some Metaphors May be True or False," JAAC,29, 1 (Fall 1970): 77-86.

Peter Mew, "Metaphor and Truth," BJA, 11, 2 (Spring 1971): 189-195.

George E. Yoos, "A Phenomenological Look at Metaphor," PPR, 32, 1(Sept. 1971): 78-88.

Stanley Cavell, "Aesthetic Problems of Modern America," in MaxBlack's Philosophy in America, esp. pp. 75-87.

W. Charlton, "Living and Dead Metaphors," BJA, 15 (1975): 172ff.

J. T. Keehley, "Metaphor Theories and Theoretical Metaphors," PPR,39, 4 (June 1979): 582-588.

LECTURE 29: "What is a Critic?"

Read: Weitz, "The Issues," pp. 231-238, and "Summary and Criticism," in Duncan (Section 21).

See Also: Morris Weitz, "Reasons in Criticism," in Weitz, Problems inAesthetics (2nd ed), pp. 913-927, or JAAC, 20, 4 (Summer1962): 429-437.

George Dickie, Review of Hamlet and the Philosophy of LiteraryCriticism, JAAC, 24, 3 (Spring 1966): 443-445.

Rudolf Arnheim, "What is a Critic?", Saturday Review, Aug. 28,1965, pp. 26-27.

33

My "Who is to Judge?", The Phoenix, Baylor Fine Arts Magazine,1971, pp. 35-37.

Richard Peltz, "Classification and Evaluation in Aesthetics:Weitz and Aristotle," JAAC, 30, 1 (Fall 1971): 69-78.

Robert Hughes, "Modern Art and the Critic's Task," The Beall-Russell Lectures in the Humanities, Baylor University,September 28, 1987, 14 pp.

LECTURE 30: "Do We Really Dispute?"

Read: Monroe C. Beardsley, "On the Generality of Critical Reasons, in Duncan,

(Section 22).

Monroe C. Beardsley, "The Classification of Critical Reasons,"in Rader, pp. 388-394.

See Also: Dickie, Introduction to Aesthetics, pp. 142-151.

Monroe C. Beardsley, "Can We Dispute About Tastes?", in Singer andAmmerman, Introductory Readings in Philosophy, pp. 343-349.

Monroe C. Beardsley, "In Defense of Aesthetic Value," Proceedings and Addresses of the American Philosophical Association, 52, 6 (August 1979): 723-749.

Monroe C. Beardsley, “Critical Evaluation,” pp. 316-331, and “The Relevance of Reasons in Art Criticism,” pp. 332-351, both in The Aesthetic Point of View, Selected Essays, edited by Michael J. Wreen and Donald M. Callen, 1982.

Frank Sibley, “General Criteria and Reasons in Aesthetics,” pp. 3-20, in Essays on Aesthetics, Perspectives on the Work of Monroe C. Beardsley, edited by John Fisher, 1983.

W. E. Kennick, "Does Traditional Aesthetics Rest on a Mistake?"in Barrett, Collected Papers on Aesthetics, pp. 1-21.

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Richard Eggerman, "Is Normative Aesthetics a Viable Field forPhilosophic Inquiry?", Journal of Value Inquiry, 9 (1975):210ff.

Donald W. Crawford, "Causes, Reasons and Aesthetic Objectivity,"APQ, 8, 3 (July 1971): 266-274.

Dewitt H. Parker, "The Problem of Aesthetic Form," in Rader, Fourthedition, pp. 250-265.

Theodore M. Greene, "The Three Aspects of Criticism," in Vivas andKrieger, pp. 414-418.

The Monist, 50, 2 (April 1966), nine articles on the general topic,"Reasons in Art Criticism."

Paul Ziff, "Reasons in Art Criticism," in Margolis, First edition,pp. 158-178.

Stefan Morawski, "Artistic Value," JAE, 5, 1 (Jan. 1971): 23-59.

H. G. Blocker, "The Oil Can Theory of Criticism," JAE, 9 (1975):19ff.

There is also a special issue devoted to aesthetic value in the Journalof Value Inquiry, Vol. 28, No. 2, for June, 1994.

LECTURE 31: "Art and Ethics"

Read: F. E. Sparshott, "Art and Censorship: a Critical Survey of the Issues,"in Duncan, (Section 23).

Karl Marx, "Art and History" in Rader, pp. 483-490.

See Also: W. K. Wimsatt, Jr., "Poetry and Morals: a Relation Reargued,"in Vivas and Krieger, pp. 530-546.

Radoslav A. Tsanoff, "Literary Art and Moral Values," Rice UniversityStudies, 50, 1 (Winter 1964): 91-103.

T. J. Diffey, "Evaluation and Aesthetic Appraisals," BJA, 7, 4(Oct. 1967): 358-373.

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Eric Gilman, "The Use of Moral Concepts in Literary Criticism,"Philosophy, 41, 158 (Oct. 1966): 304-319.

My "Arguments Used in Ethics and Aesthetics: Two Differences,"JAAC, 25, 4 (Summer 1967): 427-431.

Joseph Margolis, "Parallels in Moral and Aesthetic Discourse,"JAE, 2, 3 (July 1968): 65-77.

Jeremy Walker, " 'Moral' Versus 'Aesthetics'," Critica, 1, 3(Sept. 1967): 21-36.

Philippa Foot, "Morality and Art," Proceedings of the BritishAcademy, 56 (1970).

Eddy M. Zemach, "Thirteen Ways of Looking at the Ethics-AestheticsParallelism," JAAC, 29, 3 (Spring 1971): 391-398.

Aurel Dolnai, "Aesthetic and Moral Experience: the Five Contrasts,"BJA, 11, 2 (spring 1971): 178-188.

F. N. Sibley, "Particularity, Art, and Evaluation," PAS, Supp.Vol. 68 (1974): 1-21.

T. J. Diffey, "Morality and Literary Criticism," JAAC, 33 (1975):443ff.

M. Cavell, "Taste and the Moral Sense," JAAC, 34 (1975): 29ff.

J. Ogilvy, "Art and Ethics," Journal of Value Inquiry, 10 (1976): 1ff.

R. A. Dyal, "Is Pornography Good for You?", Southwestern Journalof Philosophy, 7 (1976): 95ff.

Noel Carroll, "Art and Ethical Criticism: An Overview of Recent Directions of Research," Ethics, 110, 2 (January 2000): 350-387.

For a good collection of essays on the general topic, see Pornography: Private Right or Public Menace?, edited by Robert M. Baird and Stuart E. Rosenbaum.

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LECTURE 32: "Unity"

Read: Harold Osborne, "Organic Unity," in Rader, pp. 306-312.

Catherine Lord, "Organic Unity Reconsidered," in Duncan, (Section 24).

See Also: Catherine Lord, "Unity with Impunity," JAAC, 26 (1967): 103ff.

My "Rules and Exceptions in Ethics and Aesthetics," PPR, 27, 2(Dec. 1966): 267-273.

Bosanquet, Three Lectures on Aesthetic.

Berel Lang, "Bosanquet's Aesthetic: a History and Philosophyof the Symbol," JAAC, 26, 3 (Spring 1968): 377-387.

K. M. Stampp, Jr., "Unity as a Virtue," JAAC, 34 (1975): 191ff.

Catherine Lord, "Kinds and Degrees of Aesthetic Unity," BJA, 18(1978): 59ff.

LECTURE 33: "The Perfect Critic--or Relativism"

Read: John Hospers, "The Ideal Aesthetic Observer," in Duncan, (Section 25).

My "The Ideal Aesthetic Observer: a Second Look," in Duncan, (Section 26).

See Also: Bernard C. Heyl, "Relativism Again," in Vivas and Krieger, pp. 436-445.

Stolnitz, Aesthetics and Philosophy of Art Criticism, ch 15.

B. Harrison, "Somes Uses of 'Good' in Criticism," Mind, 64, 274(April 1960): 206-222.

Sascha Talmar, "The Aesthetic Judgment and Its Criteria of Value,"Mind, 78, 309 (Jan. 1969): 102-115.

A. G. Plydell-Pearce, "Objectivity and Value in the Judgments ofAesthetics," BJA, 10, 1 (Jan. 1970): 25-38.

David Hume, "Of the Standard of Taste," in Dickie and Sclafani,pp. 592-606.

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My paper "Hume on Ethics, Aesthetics, and the Difference ItMakes," Southwest Philosophy Review, 1986, pp. 60-69.

Dickie, Introduction to Aesthetics, pp. 137-141.

Roman Bonzon, "Aesthetic Objectivity and the Ideal Observer Theory," BJA, 39, 3 (July 1999): 230-240.

LECTURE 34: "Emotivism"

Read: Charles L. Stevenson, "On the Reasons that can be Given for theInterpretation of a Poem," in Duncan, (Section 27).

Peter Kivy, “A Failure of Aesthetic Emotivism,” in Duncan, (Section 28).

See Also: Charles L. Stevenson, "Interpretation and Evaluation in Aes-thetics," in Black, Philosophical Analysis, pp. 319-358.

Charles L. Stevenson, "Relativism and Non-relativism in Aes-thetics," in his Facts and Values, pp. 71-93.

Dickie, Introduction to Aesthetics, pp. 134-137.

Margolis, The Language of Art and Art Criticism, pp. 68-70.

Urmson, The Emotive Theory of Ethics, esp. ch. 4, 5, and 6.

LECTURE 35: "The Logic of Criticism"

Read: Arnold Isenberg, "Critical Communication" in Duncan, (Section 29).

See Also: Margaret Macdonald, "Some Distinctive Features of ArgumentsUsed in Criticism of the Arts," in Elton, Aesthetics andLanguage, pp. 115-130.

Stuart Hampshire, "Logic and Appreciation," in Elton, Aesthe-tics and Language, pp. 161-169.

Hardy Jones, "Appreciation and Generalization," The Personalist,57 (1976): 5ff.

D. Pole, "Art and Generality," Mind, 85 (1976): 371ff.

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F. A. Siegler, "On Isenberg's 'Critical Communication'," BJA,8, 2 (April 1968): 161-174.

Theodore Redpath, "Some Problems of Modern Aesthetics: theRelations Between Evaluations, Reasons and Descriptions inAesthetics," in Mace, British Philosophy in Mid-Century,pp. 275-290.

Ronald Suter, "Isenberg's Answer to the Problem of Taste,"Philosophical Review (National Taiwan University), 1 (July1971): 104-121.

Ronald Suter, "Isenberg," ch. 6 of his Six Answers to the Problemof Taste, pp. 47-61.

Arnold Isenberg, Analytical Philosophy and the Study of Art(Privately printed).

LECTURE 36: "One Last Look Around"

Read: Ted Cohen, "Aesthetics," Social Research, in Duncan, (Section 30).

Lydia Goehr, "The Institutionalization of a Discipline: a Retrospectiveof the Journal of Aesthetics and Art Criticism and the AmericanSociety for Aesthetics, 1939-1992,"in Duncan, (Section 31).

Townsend, Dabney, “Aesthetics in the Twentieth Century,” in Duncan, (Section 32).

See Also: Joseph Margolis, "Recent Work in Aesthetics," APQ, 2, 3 (July1965): 185-192.

Joseph Margolis, "Recent Currents in Aesthetics of Relevanceto Contemporary Visual Artists," Leonardo, 12, 2 (Spring1979): 111-119.

My "Notes After Compiling the Index," in the "Notes and News"Section, JAAC, 24, 2 (Winter 1965): 329-332.

Van Meter Ames, "The New in Art," Rice University Studies, 51,4 (Fall 1965): 19-38.

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Rolf-Dieter Herrmann, "How a European Views the Journal ofAesthetics and Art Criticism," JAAC, 29, 4 (Summer 1971):499-505.

V. Tejara, "Contemporary Trends in Aesthetics: Some Under-lying Issues," Journal of Value Inquiry, 8, 2 (Summer1974): 137-142.

My "A Note for Teachers: Ryle was Right--Even About Aesthetics,"JAE, 13, 3 (July 1979): 117-119.

And the book by Lang--The Death of Art.

My "The Present State of the American Society of Aesthetics,"Leonardo, Vol. 36, No. 3, 1993, pp. 182-183.

Peter Lamarque, "The British Journal of Aesthetics: Forty Years On," 40, 1 (January 2000): 1-20.

The student will also find useful articles on most of the topics (and people) we discuss in the four volume Oxford Encyclopedia of Aesthetics (1998).

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